Los Angeles — The Sudanese-American actor/artist Dua Saleh, best known for their work as Cal Bowman on Netflix’s “Sex Education,” mesmerizes within the first few seconds of their experimental debut album, “I Should Call Them.”
The opening track “Chi Girl” lays the foundation for the rest of Saleh’s infectious project. A haunting string arrangement echos, melting into the background of Saleh’s ethereal vocals. Then, a transition: electronic percussion introduces a tale of desire.
“Baby going down/Now I’m drunk off of your touch,” Saleh sings in a laidback falsetto. “I throw it down/Looking down when we downtown/If it ain’t love, then what’s up?”
An intoxicating blend of indie pop and electronica bleeds effortlessly in “Want” — a track that parallels the moody, sensuality of Saleh’s sonic contemporaries, like Amaarae or Majid Jordan. But Saleh avoids being derivative by infusing elements of rock, R&B, and rap — offering their unique edge to familiar sounds.
On “I Should Call Them,” Saleh’s avant-pop doesn’t play it safe, using complex instrumentation and poetic lyricism worthy of repeat listens.
Even though they are best known as an actor, Saleh has been releasing music since 2017, garnering attention in certain sections of the internet for their inventive rap and pop tracks, “Sugar Mama” and “Macrodosing.” Even then, they weren’t afraid to take risks. And on this genre-fluid album, they’ve managed to sharpen their craft.
Tracks like “Time & Time Again,” featuring Indian R&B artist Sid Sriram, find Saleh effortlessly stepping into alt-R&B, with a sexy-and-slow blend of strings and percussion, amplified by Sriram and Saleh’s breathy harmonies.
“Bo Peep” blends elements of rap, electronica and Latin instruments, genre-agnostic production that allows their vocal range to shine.
Thematically, it moves from sweet and suggestive to laidback bravado. Saleh raps, “Thinking ‘bout her body got me swimmin’ she the truth/I ain’t had to think about the dip into the pool.”
“I Should Call Them” dips in excitement near the mid-way point, after “Unruly,” which features NYC experimental R&B artist serpentwithfeet. Later, “Playing Games,” and “Television,” which features Ambré, sandwich the upbeat electronica track “Cradle” — a brief intermission in an otherwise strong work of art.
At a time when some outsider pop lacks luster, Saleh’s inventive project makes the case that they may very well be at forefront of the next wave of genre. In that way, they are not dissimilar to other unconventional artists like FKA Twigs in the early days of their career.
The album wraps with the chaotic punk of “2excited” — a seductive closure with saxophone and snapping. It is the final stop on the emotional rollercoaster, and an ideal reminder that this debut album is full of surprises. What most new artists are afraid to attempt, Saleh runs toward.
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